Video installation by UMMMI.
Social & External
Unknown Role
An exploration of how the U.S. military employs video game technology to train troops for war. Three Dead depicts a military exercise within a mock Iraqi town built on the outskirts of Twentynine Palms, California, blurring the line between computer simulation and reality.
An exploration of how the U.S. military employs video game technology to train troops for war. In Immersion, Farocki presents footage of a role-playing exercise in which military psychologists demonstrate how to use the PTSD program on their colleagues, who describe traumatic wartime experiences. On a second channel, their descriptions play out as virtual renderings.
CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect ...
Portrait of Andy Goldsworthy, an artist whose specialty is ephemeral sculptures made from elements of nature.
Experimental film & Installation. This is the video editing used for video projections in the short film "Caverne". The video was then passed in negative and projected onto walls of a cave.2011
2 Small Channel Video Installation, featuring a monologue excerpted from an untitled novel by Alissa Bennett
Wang’s work investigates the ways in which sound and listening can play pivotal roles in shaping social space. For Music While We Work, Wang assembled a group of retired workers from a Taiwanese sugar refinery in the small industrial town of her childhood. She and her collaborator, the political activist and composer Chen Bo-Wei (Taiwanese, born 1971), led a series of recording workshops for the retirees and their spouses. They then returned to the factory, where Wang asked them to “paint a world composed by their listening.”
Bass takes over the upstairs Kanter-McCormick Gallery at the Art Center, expanding the territory of her gothic world in a new work The Latest Sun is Sinking Fast, an immersive, multi-channel installation incorporating 16mm film/video, sound, architecture, and featuring performances by Sarah Stambaugh, Bryan Saner, and Matthew Goulish. The solo exhibition features a spatial narrative installation that delves, through movement, texture, sound, and gesture, into the psychology of a recurring figure in Bass' previous films; while also introducing two new characters, blending the past into the present. Bass has designed the installation by altering the gallery, leading the viewer through a evocative memory of place, embedding us in a timeless society of lost souls in a haunted landscape. -Allison Peters Quinn, Exhibition Director, Hyde Park Art Center
Ilya Kabakov is considered one of the most important contemporary artists worldwide. Born and raised in the Ukraine in the period between Stalin and Gorbatschow he left the country in the 80s. In his Installations and his numerous paintings Kabakov creates a world of its own, which leaves the heaviness of socialist and post-socialist life far behind. The film links Ilya Kabakovs artistic spaces with insights into Russian everyday life, which itself sometimes appears like an installation by the artist.
"This experimental melodrama follows Hikari, and her boyfriend Taro’s visit to his family home. While there Hikari forms an unexpected relationship with Taro’s auntie, Kyoto. As their relationship develops it becomes clear that Kyoko is struggling to control her mental state and the issues that ensue. Taro discovers that Hikari has had a brief affair with a friend of Kyoko’s and cannot control his emotions. This film is about the destruction of old love, and the cultivation of new love becoming tainted by history repeating itself." -UMMMI.
Following in the great tradition of his classic "How To" animated shorts of the 1940's, Goofy makes his return to the big screen in "How to Hook Up Your Home Theater". When Goofy is desperate to watch the Big Game, he heads to his local electronics store to tackle every consumer's nightmare - selecting the perfect home theater system and worse, trying to hook it all up.
A prestigious Stockholm museum's chief art curator finds himself in times of both professional and personal crisis as he attempts to set up a controversial new exhibit.
The second part of the video series Man with balls on hands and feet, also including Man on air (2001) and Man on ice (1998). Man with balls on hands and feet is the name of the video series containing three films. The two first, Man on ice (1998) and Man on water (1999) shows a man venturing on the physical contradictory; to stand straight up on an ice or a water surface, with balls attached to hands and feet. In the third, Man on air (2001), the support obtained by friction is altered with a heavy stream of air. Through this very simple and obviously impossible combination of hard, spherical forms contradicting the ice, the water and the air stream, an excruciating yet human situation is stressed.
Commissioned for the Irish representation at the 55th Venice Biennale in 2013, The Enclave is an immersive, six-screen video art installation by Irish contemporary artist Richard Mosse. Partly inspired by Joseph Conrad’s modernist literary masterpiece Heart of Darkness, the visceral and moving work was filmed in the Democratic Republic of Congo using 16mm colour infra-red film, which captures otherwise invisible parts of the spectrum. The resulting imagery in Mosse’s work is hallucinatory and dream-like with the usual greens of jungle and forest replaced by shimmering violet. The Enclave depicts a complicated, strife-ridden place in a way that reflects its complexity, using a strategy of beauty and transfixion to combat the wider invisibility of a conflict that has claimed so many.
Based on an installation by Alberto vev
Past and present life in the anarchistic "free city" of Christiania, in Copenhagen, Denmark. In Sandra of the Tuliphouse or How to Live in Free State, Christiania is approached at face-value, as a self-described laboratory of freedom, an environment that provides an almost unparalleled opportunity to unravel a very particular history of markedly contrasting power relations and vivid social forces. Borrowing from the usually disparate practices of cultural geography and fictional narrative, the project is constructed as a visual, spatial, and aural investigation of the site. The situation at Christiania in 2001 is compared with its distant past as a military base, its more recent utopian regeneration, and its possible future.
This three-channel video installation by James Benning shows three scenes from David Wark Griffith’s The Birth of a Nation (1915). The two-minute-long screen arrangement of imperceptibly moving images alludes to the beginning of racism. The three screens each show a solider in the American Civil War, black slaves picking cotton in the field, and imposing KKK.
An experimental installation inspired by the shot and reverse shot, one of the basics methodologies of cinema. The audiences follow the path designed by Jang to see the images, and simultaneously they are also recorded by a hidden camera in the reverse angle. This embodies the concept “gaze of gaze.” The film was shot in three different places to capture the atmosphere of DMZ. The installation consists of two-channel projections, CCTV cameras, and objects representing the DMZ.
Philipp Fleischmann develops special cameras designed to formulate specific relations between the material of the footage (16 or 35 mm film) and the object of the recording. For instance, in his 2013 project “Main Hall,” he deconstructs the main exhibition hall of the Viennese Secession, filming the exhibition architecture with 19 individual cameras and thus creating images that show the view of the exhibition space onto itself. Fleischmann’s recent work, “Untitled (Generali Foundation Vienna)" identifies the film camera as a spacial object-form by itself. Correlating with the history of artistic interventions on site, the object is placed in the former exhibition space of the Generali Foundation at Wiedner Hauptstrasse 15, Vienna, and provided with a cinematographic view.
